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Notations on Drawing the Curtain Down

2010-11. Installation views at Serralves Museum for Contemporary Art, and São João National Theater, both Oporto, Portugal, 2010-2011.
Notations on Drawing the Curtain Down includes video, installation, an audio piece, and a performance scripted for a museum and proscenium arch theater. It considers the incorporation of audience participation in dramaturgy and the spatial configurations of theater architecture in parallel, and often in tension, with the appearance of unruly and agonistic audience riots throughout modernism.

The project includes the following works: 

How we are to be named. Video animation, 8' 30'', loop, sound, plexiglass screen panel.
A selection of typologies of theater architecture from the 16th and 20th century maps the evolution of ideas on the spatial relations between audience and stage. Through these cases the digital animation traces a history of how ideals of democratizing and politicizing audience participation and aesthetic judgment came to inform spatial thought. 

Mix-tape (How we are to be named). Stereo-sound, 15', custom-made speakers.
A voice amidst folley sounds traces how, from the 18th century onwards, various architects, dramaturges, and playwrights idealized the relationship between audience and stage, thinking dialectically proximity and/ or distance to the action as well as audience participation.
Notations on drawing the curtain down. Vynil letters on salmon colored rosco filter on wall.
An abreviated, historical list of theater riots dating from the 18th and 20th century.

Notations On Drawing the Curtain Down. Performance, 15', video documentation at São João National Theater, Oporto, 2010-11. Director: Francisca Manuel.
In this performance, an actor walks through both public and private areas of a proscenium arch theater carrying a radio in hand. The actor and the voice-off that he plays from the radio recount instances of public revolt in theaters.